KAT BURNS - INTERVIEW
Earthbound Studio:
What is the Choreographer’s Guild?
Kat Burns:
The Choreographers Guild aims to serve as a collective voice for choreographers in the television, film, and music video industry. Currently, there is no such collective representation. While the Stage Directors and Choreographers Society (SDC) exists primarily for Broadway and tours, no union exists specifically for choreographers under an AMPTP contract. The Alliance of Motion Picture and Television Producers (AMPTP) is responsible for negotiating contracts for all industry members, ranging from background singers to producers. Carol Lombardini has been in charge of the AMPTP for a considerable period of time. Since these contracts operate under collective bargaining agreements, they recognize and provide contracts to this group of individuals during negotiations held every three years.
Earthbound Studio:
How do these negotiations work?
Kat Burns:
So typically, directors are the first to enter those AMPTP meetings. We never really know what goes on in there because it's a closed-door room where important discussions take place. Both parties, the directors and the AMPTP, have their lawyers present and negotiate specific terms in their contracts. Then the Writers Guild represents the writers, followed by SAG-AFTRA. However, choreographers are currently not part of these conversations at all. When it comes to fighting for money and recognition, which dancers have received through SAG-AFTRA contracts, all negotiations happen in front of the AMPTP and require mutual agreement in that room. They need to have bargaining chips to give or take in order to achieve their desired outcomes. Therefore, when we arrive on set without any contract or agreement in place, people are often confused and disinterested, wondering who we are and what we are doing. There is simply no energy left for us. And because there are no set standards, they are not obligated to provide us with anything.
Earthbound Studio:
How are choreographers' needs and requirements often overlooked or misunderstood by agents and producers in the industry?
Kat Burns:
A UPM, or unit production manager, is responsible for managing the production of a scripted show. They have a rate sheet that outlines the pay rates for various professions in the industry. When they receive a script, they go through it line by line and estimate how much the project will cost. Currently, there is no specific rate for choreographers, so people are just guessing. In contrast, other guilds like SAG-AFTRA review scripts and have a representative who contacts the production to ensure that a stunt person is hired if there is a stunt involved. Similarly, if they see dance in the script, they would advise hiring a choreographer. However, when it comes to choreographers, agents are usually the ones answering questions about their needs, and producers often respond by suggesting alternatives like using a backyard for rehearsals instead of providing necessary resources like rehearsal studios, mirrors, water, food, and proper music playback equipment. There is only a limited amount of time allocated for working with actors, with producers failing to understand the preparation required for choreography and dance, just as they would expect a script for the first day of rehearsal. It is necessary to educate producers on the amount of work involved and the significant variations in the field. Many producers may not be aware that there is no union for choreographers, and they may also be unfamiliar with the appropriate rates for their services.
Earthbound Studio:
What is the current working conditions of choreographers?
Kat Burns:
Being treated as a non-union position means that the rate offered is usually "This is all we have." It can be as low as $500 to work on a major television show, which includes choreographing, casting, communicating with all the people involved, and handling emails. There is no overtime pay, no healthcare benefits, and no pension plan. If you get injured, there is no support. There is no contract or guaranteed credit, only a handshake agreement and a small payment. Additionally, you are required to give up all your intellectual property rights. This means that if your work gets sold or someone else recreates your dance on another major show, you will not receive any additional payment. It's just a flat day rate that can be anything. The producers who initially agreed to a certain rate will continue to offer that rate for subsequent projects, even if it is a major motion picture film. Small increases in payment are possible, but you will have to fight for them.
Earthbound Studio:
Do you think there's a misconception that a seat doesn't exist? And the industry doesn't want to help dancers and get them involved?
Kat Burns:
I can speak from my experiences as a woman, but our community in the entertainment business is incredibly diverse. Historically and systemically, there has been a lack of trust and visibility for a long time. However, we also have a deep love for dance and choreography that is connected to our souls, and we don't want to lose that. This has led to gatekeeping and negativity. For example, we were initially part of the DGA (Directors Guild of America) when it was first formed, but were kicked out three years later. We had an Oscar category for three years, but it was taken away. When you keep declining invitations, even for something like a friend's birthday party, eventually people will stop inviting you. The reasons for saying no may vary, but it's important to show up. Once you consistently show up, people will start to listen. We learned this from the success we achieved through the Television Academy. Now we have three different categories for Emmys: scripted for primetime, reality/unscripted, and Children's and Family as its own new category. We were able to petition for this because I attended the meetings and realized that there were many amazing movies with kids and exceptional children's programming like Sesame Street that weren't being recognized. The choreographers who work with kids do phenomenal work. Now, they have an Emmy category for outstanding choreography. All of this happened because someone attended a meeting.
Earthbound Studio:
What is the harm if the Emmy’s had only one category for choreographers?
Kat Burns
If choreography had only one category for a Television Award, it would minimize the great amount of work done in the entertainment industry. By only recognizing five shows and choosing one winner, it fails to acknowledge the hundreds, and perhaps thousands, of dance elements on television each year. Five shows are not a diverse enough representation of the excellent work being done. It is crucial to understand the wide range of work being produced and to recognize excellence in its various forms.